Lou Reed: Ecstasy - Hilfe

Lou Reed - Ecstasy

Cover von Ecstasy
Lou Reed

Label Warner Brothers
Erstveröffentlichung 30.03.2000
Format CD
Leider nicht verfügbar.

2000er CD, fast 78 Minuten währender Trip, produziert von Reed und Hal Wilner. Das reicht vom recht relaxten Titeltrack bis zum 18-minütigen Gitarren-Epos/-Inferno Like A Possum.
„`Ecstasy´ gibt sich roh und ungeschminkt, betont den Live-Charakter der Musik, die ohne jedes Zugeständnis an zeitgenössische Hörgewohnheiten auskommt. Von sporadischen, wirkungsvoll gesetzten Bläsern Bläsern abgesehen, durchbricht praktisch nur das Titelstück mit Streichern und Synthie-Motiv die Bass-Drums-Gitarren-Basisgleichung, auf der Rock à la Reed beruht.“ (TIP Berlin)
“Nun kommt, völlig unerwartet, `Ecsatsy´ und schon nach wenigen Takten tauchen Erinnerungen an `Street Hassle´ auf. In der Tat lässt sich `Ecstasy´ noch am ehesten mit jenem Meisterwerk vergleichen, und 78 (!) Minuten später, bei den letzten Klängen von `Big Sky´ stelle ich zufrieden fest, dass dieses Album nicht `gut´ ist, es ist ein Meisterstück, ganz wie in alten Zeiten!” (WOM Journal)


„Guitars, guitars, guitars – great big dirty ones. Approach the monstrous 18-minutes-plus `Like A Possum´ with EXTREME CAUTION.“ (Mojo)
“The spare and halting guitar that kicks off Ecstasy is like a crash in the middle of the night - a jarring awakening that demands your full attention. Before letting you slide back into unconsciousness, opening track "Paranoia Key of E," a stripped-back rock song built on a basic riff and Reedþs signature sing-speak, builds a melody and momentum that take you back over a decade to New York, his landmark solo album of 1989.
Lurching into the grinding "Mystic Child," then breaking into the R&B saunter of "Mad," Reed once again repopulates the city of legend that he as much as anyone has created, filling it with the hopeless and the beaten, the soiled geniuses and addict savants that have made his best work brilliant. His words retain their precision and bite, holding back nothing in their emotional outpouring and social commentary, yet restraining from the personal communiqués and even outright meanness of some songs on his previous release, 1996þs Set the Twilight Reeling.
Drummer Tony "Thunder" Smith and bassist Fernando Saunders are still with Reed from Twilight, but instead of Reed playing all the guitars again, Mike Rathke has returned from the New York days, and together the foursome produce rock music as good as almost anything in Reedþs immense archives. The title track is quiet and sultry, a celloþs wail speaking the voice of the New York nigh

ûûModern Danceûû and ûûRock Minuetûû offer poetic wisdom and big payoffs in the choruses. ûûTurning Time Aroundûû slows down a bit, and ûûTattersûû is something of a lull, but only in relation to the rest of the album. Whereas Twilight seemed hasty, often ill-conceived, there is an air of meticulosity about Ecstasy, as if its author understands the import of whatþs being said and has taken measures to ensure itþs said right. Even, or especially, when it comes to the albumþs opus, ûûLike a Possum,ûû a near 20-minute exercise in feedback and distortion that hurtles the listener back to the days of ûûHeroinûû and ûûStreet Hassle.ûû The song is a collision of noise and poetry that finds meaning in the midpoint between Metal Machine Music and Magic and Los
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